Milan and now resides in Torri del Benaco VR (on the Garda lake). After leaving the classical studies, he attended the Brera Accademy.

After an interesting period as a designer, he founded with others a creative Boutique that is an example of advanced communication and creativity. He has worked as art director and a creative in national and international advertising companies for many years and he created and realized outstanding TV and stampa advertising campaigns. A professorship at the European Institute of Design was offered to him.

A diversified cultural curiosity, the interest and the artistical attitude drive him to the painting.

His first personal exposition ('85), in palazzo Borromeo at the "Le Arcate" art gallery, via Manzoni, Milan, was accredited by a large interest of the public and of the critics. After other exhibitions and a certain number of collective expositions, the painter reaches a higher artistical level, due to an intense work program, not conditioned by the various influences of the art market.

His work has been accredited by the great estimates and by the consensus expressed by the art operators at European level. His paintings are part of art collections of refined art estimators.

"DIARIO FIGURATO" '96 OF PROF. GIAN ALBERTO DELL'ACQUAONE OF MOST AUTHORITATIVE CRITICS OF THE ITALIAN ART HISTORY.

Gian alberto Dell'Acqua already ancient and modern history teacher at the Cattolica University of Milan, already superintendent at the Lombardy galleries since 1973, reviser of the Lombardy Museums, trustee of numerous ancient and contemporary art exhibitions in public sites ( palazzo reale Milano ), trustee and general secretary of the biennale di Venezia

......Nevertheless Ferrari should soon realize that to give to his work a more solid structural implant he had to follow Cezanne's and proto-cubists Braque's and Picasso's lesson, with a participating interest, extended afterward to other protagonists of the European twentieth century: Matisse, Leger, Sironi, Chagall, the surrealists.

...... Among the titles of the ones since now considered, the not few allusions to mythology and classical literature are impressive (Penelope, Ettore e Andromaca, Pandora), they are to be meant in relation, in Jung's sense, to archetypes lying in the unconscious as deposit of ancestral experiences; actually Ferrari loves to recall in this way the civility beginning felt like a golden period, of an exemplar value.

..... While the traces of the cubist experience are disappearing, human monumental figures prevail in the paintings, mostly feminine and often associated to still-life motifs, on the probable Sironi's and Leger's example. Emerges in this way a new figure representation, feed even by primitive and archaic inspiration "Harem","Giullareallospecchio", "Giullare ignudo", "le antiche nutrici", "Dialogo" ) that in the color outburst assumes a tone of excited irrationality, in a surrealist direction. The recourse to towering and moving shapes accentuates itself during ("Il rosso ballerino", "Sabba verde", "Eva scolpita") in a way that even if on one side they seem to recall the neo-classic Picasso in the appearance, although in reality they are rooting in an ancient memory of the Mediterranean world.

The application of the color, strongly marked in the reds and in the blue or maintained on a more clear gamut and that from time to time assumes the transparency or on the contrary is consolidated in meditated overlaps, conforms as much to the unnatural liberty , such as to recall sometimes to the mind the convulsive metamorphosis of the surrealist Masson. The Tension does not slacken in the last paintings. In continuity with the previous, they constitute a sort drawing diary, effect of a tumultuous, overflowing imagination and characterized by a rare richness and variety of motifs, which reflect the numerous interests of Ferrari, man and artist under various aspects upstream.

.... Attempting to interpret them, the courage and the tenacity of Pierluigi Ferrari in putting himself under discussion, betting on his painting in the highest sense of the word, should be emphasized as certain sign of authenticity. His painting, born from a free comparison with some great artists of the modern times, has searched and found, out of the actual trends and trade influences, an own important creative space.

Milan and now resides in Torri del Benaco VR (on the Garda lake). After leaving the classical studies, he attended the Brera Accademy.

After an interesting period as a designer, he founded with others a creative Boutique that is an example of advanced communication and creativity. He has worked as art director and a creative in national and international advertising companies for many years and he created and realized outstanding TV and stampa advertising campaigns. A professorship at the European Institute of Design was offered to him.

A diversified cultural curiosity, the interest and the artistical attitude drive him to the painting.

His first personal exposition ('85), in palazzo Borromeo at the "Le Arcate" art gallery, via Manzoni, Milan, was accredited by a large interest of the public and of the critics. After other exhibitions and a certain number of collective expositions, the painter reaches a higher artistical level, due to an intense work program, not conditioned by the various influences of the art market.

His work has been accredited by the great estimates and by the consensus expressed by the art operators at European level. His paintings are part of art collections of refined art estimators.

"DIARIO FIGURATO" '96 OF PROF. GIAN ALBERTO DELL'ACQUAONE OF MOST AUTHORITATIVE CRITICS OF THE ITALIAN ART HISTORY.

Gian alberto Dell'Acqua already ancient and modern history teacher at the Cattolica University of Milan, already superintendent at the Lombardy galleries since 1973, reviser of the Lombardy Museums, trustee of numerous ancient and contemporary art exhibitions in public sites ( palazzo reale Milano ), trustee and general secretary of the biennale di Venezia

......Nevertheless Ferrari should soon realize that to give to his work a more solid structural implant he had to follow Cezanne's and proto-cubists Braque's and Picasso's lesson, with a participating interest, extended afterward to other protagonists of the European twentieth century: Matisse, Leger, Sironi, Chagall, the surrealists.

...... Among the titles of the ones since now considered, the not few allusions to mythology and classical literature are impressive (Penelope, Ettore e Andromaca, Pandora), they are to be meant in relation, in Jung's sense, to archetypes lying in the unconscious as deposit of ancestral experiences; actually Ferrari loves to recall in this way the civility beginning felt like a golden period, of an exemplar value.

..... While the traces of the cubist experience are disappearing, human monumental figures prevail in the paintings, mostly feminine and often associated to still-life motifs, on the probable Sironi's and Leger's example. Emerges in this way a new figure representation, feed even by primitive and archaic inspiration "Harem","Giullareallospecchio", "Giullare ignudo", "le antiche nutrici", "Dialogo" ) that in the color outburst assumes a tone of excited irrationality, in a surrealist direction. The recourse to towering and moving shapes accentuates itself during ("Il rosso ballerino", "Sabba verde", "Eva scolpita") in a way that even if on one side they seem to recall the neo-classic Picasso in the appearance, although in reality they are rooting in an ancient memory of the Mediterranean world.

The application of the color, strongly marked in the reds and in the blue or maintained on a more clear gamut and that from time to time assumes the transparency or on the contrary is consolidated in meditated overlaps, conforms as much to the unnatural liberty , such as to recall sometimes to the mind the convulsive metamorphosis of the surrealist Masson. The Tension does not slacken in the last paintings. In continuity with the previous, they constitute a sort drawing diary, effect of a tumultuous, overflowing imagination and characterized by a rare richness and variety of motifs, which reflect the numerous interests of Ferrari, man and artist under various aspects upstream.

.... Attempting to interpret them, the courage and the tenacity of Pierluigi Ferrari in putting himself under discussion, betting on his painting in the highest sense of the word, should be emphasized as certain sign of authenticity. His painting, born from a free comparison with some great artists of the modern times, has searched and found, out of the actual trends and trade influences, an own important creative space.